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Author Topic: Unpopular Beach Boys opinions  (Read 212323 times)
RangeRoverA1
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« Reply #1475 on: May 06, 2019, 07:09:13 PM »

*Smiley Smile and Wild Honey are by far their best albums (not counting SMiLE). Give me one of those over Sgt Pepper any day.

*Jack Rieley's vocal on A Day in the Life of a Tree is absolutely magnificent

*Controversial since we don't have all the details, but I suspect Dennis wasn't cared for well enough by the rest of the band during his battles with drug addiction.

*In terms of Beach Boys contributions, what Blondie did in a couple of years exceeds what Bruce did in 50 years.

*Spirit of America is easily their best car song and should have been a big hit.
Signed Sincerely, good list. Respectively, agree that Smiley Smile is better than Sgt. Pepper; Jack's lead is fitting to song about passing tree - brutally ugly yet gives you perfect mental pic; yes indeed, similar suspicion; 200% agree regarding Blondie:Bruce ratio; big "Spirit Of America" fan.
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Who is Lucille Ball & Vivian Vance Duet Fan Club CEO? Btw, such Club exists?

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« Reply #1476 on: May 07, 2019, 08:07:24 AM »

Jack's lead is fitting to song about passing tree - brutally ugly yet gives you perfect mental pic

Thanks RangeRover, those are exactly my thoughts on Rieley's vocal - I figured that's the kind of thing he and Brian were going for. I don't really care for his narration on Mt Vernon and Fairway, but for me Rieley gets it just right on A Day in the Life of a Tree.

I imagine Brian's voice by around 1976-77 would be great on that song as well, but of course it hadn't changed that much by the time of the Surf's Up album.
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« Reply #1477 on: May 08, 2019, 12:20:47 PM »

I love "Spirit Of America". That and the magnificent "Cherry, Cherry Coupe" are my favourites on LDC.

JK, thanks a lot for the reminder about that song! I don't think I've heard it in about eight years. Nice hidden gem.
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« Reply #1478 on: July 07, 2020, 09:00:48 AM »

The song ĎSummer in ParadiseĒ is awesome. Okay, the album version is atrocious but the Live at Wembley 1995 version is fantastic.

- the music video on YouTube for this is pure nostalgia if you miss the 90s - the outfits, the color schemes, those dolphin graphics (which are quite good for the 90s).

- the band itself seems to be having a blast playing it - it is catchy, loud, energetic. Makes me want to be out in that audience as the band plays this.

- the song itself has a great message that follows in the theme of Pacific Ocean Blues or Donít Go Near The Water (albeit with some Mike Love lyricisms thrown in).

- while simplistic, it has some great stuff going on in the background: listen for the accordion (not sure if a keyboard or an actual accordion) during the verses...itís kinda buried but itís playing some cool stuff.

Anywho, Iíve always had a soft spot for this song since hearing this version when MiC came out. I wish the energy and life of this live version was a part of the album recording (and likewise wish the rest of the songs had this kind of energy, instead of being digitally stale). Regardless, Iím glad this came out because itís something I jam to quite often.
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« Reply #1479 on: July 07, 2020, 01:33:01 PM »

The song ĎSummer in ParadiseĒ is awesome. Okay, the album version is atrocious but the Live at Wembley 1995 version is fantastic.

- the music video on YouTube for this is pure nostalgia if you miss the 90s - the outfits, the color schemes, those dolphin graphics (which are quite good for the 90s).

- the band itself seems to be having a blast playing it - it is catchy, loud, energetic. Makes me want to be out in that audience as the band plays this.

- the song itself has a great message that follows in the theme of Pacific Ocean Blues or Donít Go Near The Water (albeit with some Mike Love lyricisms thrown in).

- while simplistic, it has some great stuff going on in the background: listen for the accordion (not sure if a keyboard or an actual accordion) during the verses...itís kinda buried but itís playing some cool stuff.

Anywho, Iíve always had a soft spot for this song since hearing this version when MiC came out. I wish the energy and life of this live version was a part of the album recording (and likewise wish the rest of the songs had this kind of energy, instead of being digitally stale). Regardless, Iím glad this came out because itís something I jam to quite often.
I don't know what the story is behind the version used for the official music video, but i like that version a lot, with Bruce singing the last verse. When i finally bought a cassette of SIP for 50 cents, i was disappointed at how it sounded.

And since i've jumped into this thread, i might as well post a few more of my unpopular BB's opinions.

I love LA (Light Album) except for the 10 minute HCTN. It is one of my most played BB's albums the last 5 years.

I love Carl's solo albums. I've seen them described as bland, boring, dull. I find them anything but.

I like Brian's "shouty" vocals on BW88 and OCA. In fact, OCA just might be my favorite non-Beach Boys Brian album of all. Even though it's not really his album. His voice is all over it, so, to me, that makes it a Brian album.

I have no problem with the 80's Beach Boys, other than they didn't record a lot. But that is balanced by getting Carls's two solos and Brian's solo debut.

I still don't love Love You. But i don't hate MIU. I don't love it, but it doesn't make my physically ill.

I will take Smile Sessions anyday over BWPS. It's depressing to hear how much his voice deteriorated in the years between.

I am glad Mike is recording and releasing new music. I'm not expecting masterpieces from the man, but i'm glad he's still got some creative spark left in him.

I like Pisces Brothers.

I don't think covid-19 is a hoax.

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« Reply #1480 on: July 07, 2020, 09:17:57 PM »

Letís rustle some jimmies...
Luau is an absolute bop.
Surfin' USA only has 3 good songs on it, Surfin' USA, Lonely Sea and Shut Down.
Boogie Woodie is their best instrumental.
Little Deuce Coupe is Their worst album. The four best songs on it come from other albums that I would rather listen to, and the rest are forgettable.
Besides Smiley Smile, the stereo mixes are always better. All the mono makes it sound way more compressed, sound like the instrumental is mixed way too quietly, and sound way too dated. prime example, listen to the stereo version of the drive-in, then listen to the mono version. One just sounds way better than the other.
While I love Brian, I must admit that his voice between 1961-1965 can be absolutely terrible at times.
While the stereo mix of :-) smile technically sounds good, it completely defeats the entire aesthetic and purpose of the album by making it sound overly polished.
By contrast, the stereo mix of wild honey is amazing, because they were not trying to go for a LF sound with that albums, they were just using the equipment that they had at hand.
Even if Smile would have came out on its original intended release date of January 15, 1967, it would have been terribly received at the time and been a commercial and critical failure. even though it was experimental, the good vibrations single was still very accessible. The majority of stuff on smile was not. It was lyrically complex, and would have confused most audiences.
Canít Wait Too Long backed with the Oct 67 version of Cool Cool Water would have been a moderate hit.
The main reason for the BBs commercial down slope in the late 60s had very little to do with any of the group members, and had a lot more to do with lack of promotion and lack of faith from their record label.
So Tough is mixed absolutely horribly.
The BBs were very stupid for not releasing anything in 1974-75. While I understand they were not exactly in a position to record new material, they had so much material in the can from the past for albums that they could have scrapped something releasable together. Even if it was just a repackaging of their previous couple albums with some bonus tracks or something, it could have been done, and I could have brought a lot more attention to the newer material at the time.
Honestly, Dennis and Mike both sound like they were very unlikable human beings.
LA is one of their best albums.
KTSA is only saved by a couple Carl bangers.
When Girls Get Together is their worst song.
BB85 is a very good 80s adult contemporary album, and is only hated because itís compared to their older classic material. The landscape of music in 1985 was a very different place than in 1966, and this album perfectly matched the time.
Still Cruisin' and SIP deserve to still be in their catalog, and deserve re-masters.
Besides the 1992 version of Surfin, Summer of Love and Slow Summer Dancing, SIP isnít that bad. It was just released three years too late. It wouldíve sold very well in 1989, but by 1992 all of its ideas had already been dated for several years.
Stars and stripes volume one was a horrible idea, along with the NASCAR Album.
That Lucky Old Sun should have been the BBs reunion album.
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« Reply #1481 on: July 07, 2020, 09:55:24 PM »

^ I agree with just about all of these, TNFP!


I prefer Brianís post 1965 voice to his leads before.
I actually *like* his gruff voice.
I prefer 20/20 to Surfís Up.
So Tough is a great album, minus Make It Good
Except for the title track, LBWL is a fun album.
Midnightís Another Day is Brianís best song since Til I Die
The demos of TLOS are better than the finished album
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« Reply #1482 on: July 07, 2020, 11:19:37 PM »

Letís rustle some jimmies...
Luau is an absolute bop.
Surfin' USA only has 3 good songs on it, Surfin' USA, Lonely Sea and Shut Down.
Boogie Woodie is their best instrumental.
Little Deuce Coupe is Their worst album. The four best songs on it come from other albums that I would rather listen to, and the rest are forgettable.
Besides Smiley Smile, the stereo mixes are always better. All the mono makes it sound way more compressed, sound like the instrumental is mixed way too quietly, and sound way too dated. prime example, listen to the stereo version of the drive-in, then listen to the mono version. One just sounds way better than the other.
While I love Brian, I must admit that his voice between 1961-1965 can be absolutely terrible at times.
While the stereo mix of :-) smile technically sounds good, it completely defeats the entire aesthetic and purpose of the album by making it sound overly polished.
By contrast, the stereo mix of wild honey is amazing, because they were not trying to go for a LF sound with that albums, they were just using the equipment that they had at hand.
Even if Smile would have came out on its original intended release date of January 15, 1967, it would have been terribly received at the time and been a commercial and critical failure. even though it was experimental, the good vibrations single was still very accessible. The majority of stuff on smile was not. It was lyrically complex, and would have confused most audiences.
Canít Wait Too Long backed with the Oct 67 version of Cool Cool Water would have been a moderate hit.
The main reason for the BBs commercial down slope in the late 60s had very little to do with any of the group members, and had a lot more to do with lack of promotion and lack of faith from their record label.
So Tough is mixed absolutely horribly.
The BBs were very stupid for not releasing anything in 1974-75. While I understand they were not exactly in a position to record new material, they had so much material in the can from the past for albums that they could have scrapped something releasable together. Even if it was just a repackaging of their previous couple albums with some bonus tracks or something, it could have been done, and I could have brought a lot more attention to the newer material at the time.
Honestly, Dennis and Mike both sound like they were very unlikable human beings.
LA is one of their best albums.
KTSA is only saved by a couple Carl bangers.
When Girls Get Together is their worst song.
BB85 is a very good 80s adult contemporary album, and is only hated because itís compared to their older classic material. The landscape of music in 1985 was a very different place than in 1966, and this album perfectly matched the time.
Still Cruisin' and SIP deserve to still be in their catalog, and deserve re-masters.
Besides the 1992 version of Surfin, Summer of Love and Slow Summer Dancing, SIP isnít that bad. It was just released three years too late. It wouldíve sold very well in 1989, but by 1992 all of its ideas had already been dated for several years.
Stars and stripes volume one was a horrible idea, along with the NASCAR Album.
That Lucky Old Sun should have been the BBs reunion album.

i think the only thing i seriously disagree with here is that Brian's voice could sound horrible in the glory years of 61-65. I sure can't think of any song where he sounds bad. He had such a beautiful voice back then.
I agree that Dennis could be difficult, but unlikable? It seems that his good qualities were so strong, that they caused many people to forgive his bad side - the womanizing, the addictions. I will never convince anyone on this forum that Mike is NOT the villain; he will probably claim that he is just misunderstood. I wonder what the perception of Mike was before Leaf's book came out?
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« Reply #1483 on: July 08, 2020, 12:04:57 AM »


While I love Brian, I must admit that his voice between 1961-1965 can be absolutely terrible at times.


Could you list a few examples of this?
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« Reply #1484 on: July 08, 2020, 12:22:40 AM »

I agree that Dennis could be difficult, but unlikable? It seems that his good qualities were so strong, that they caused many people to forgive his bad side - the womanizing, the addictions. I will never convince anyone on this forum that Mike is NOT the villain; he will probably claim that he is just misunderstood. I wonder what the perception of Mike was before Leaf's book came out?

Forget about taking a backhanded shot at this board yet again...try convincing the general public. If you believe what you do about this forum and those who are posting here, how about looking across any number of items posted online about the band and reading the comments sections on those items, and convincing us that all of that opinion on Mike Love is coming from people here or from Leaf's book. The opinions of the general public go far beyond this place, many of those expressing the negative opinions about Mike are not hard core fans, and probably have no idea who David Leaf is and probably haven't read his book. Although any fan of the band should read it, if they can find a reasonably priced copy on the secondary markets. Perhaps not an unpopular opinion in some circles but considered "hate" in others, my opinion is and has been that a lot of the public opinions formed around Mike are a direct result of his own words and actions, and his refusal to apologize or show any sign of humility around any of those words or actions that have upset people through the years.
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« Reply #1485 on: July 08, 2020, 03:32:27 AM »

Lonely Summer, you probably wonít convince anyone with the tactics you use. Youíve been posting here longer than I have, so you know that the sarcastic trolling does absolutely nothing to convince anyone of your point. This approach was taken by Cam Mott and SJS (at times) and it only alienated people. If you feel that you have a valid point of view, then please express it in a manner that ALL people can understand. A lot of newer fans probably come here and the only ďdefenseĒ of Mike Love they see are either people making unfair generalizations about this forum or people dripping with sarcasm. Perhaps the reason why so many people dislike Mike Love is because, from the start of their fandom, they have never heard a rational defense of the guy.

If you really think that Mike has been treated unfairly by fans due to certain reasons then I implore you to expand upon those reasons and spell it out clearly - not just for Mike Loveís sake but for the sake of any fans, new or old (including me), who have possibly been led astray with erroneous information about the guy. If you have a valid opinion backed by facts then your constant sarcasm seriously isnít fair to the fandom but really isnít fair to Mike Love himself.

Perhaps not an unpopular opinion in some circles but considered "hate" in others, my opinion is and has been that a lot of the public opinions formed around Mike are a direct result of his own words and actions, and his refusal to apologize or show any sign of humility around any of those words or actions that have upset people through the years.

Exactly this. I have never read David Leafís book, and perhaps I have read other beach boys books that were influenced by Leafís book, however MY opinion has been swayed by Mikeís own words and actions - things I have read in interviews and words written up in his lawsuits. Direct words from Mike Loveís mouth (or statements approved by him) are not the fault of David Leaf.

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« Reply #1486 on: July 08, 2020, 06:40:01 AM »

Weren't the music mags in 1960s giving criticism of the BBs stage act with Mike's beyond annoying banter on stage?
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« Reply #1487 on: July 08, 2020, 07:02:20 AM »


While I love Brian, I must admit that his voice between 1961-1965 can be absolutely terrible at times.


Could you list a few examples of this?


Iím not tnfp but cuckoo clock wasnít good at all
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« Reply #1488 on: July 08, 2020, 09:07:47 AM »


While I love Brian, I must admit that his voice between 1961-1965 can be absolutely terrible at times.


Could you list a few examples of this?


Iím not tnfp but cuckoo clock wasnít good at all

We have one on the list so far! I thought it would have been "I'm Bugged At My Old Man".  LOL

It isn't "Don't Worry Baby" or "Surfer Girl", but it really isn't "absolutely terrible" either to my ears. I'm not saying everyone isn't entitled to express opinions or have them, but curious where ones stating the Pet Sounds cover is "absolutely horrendous" and that Brian's pre-1965 voice can be "absolutely terrible" at times are coming from. And examples would be nice to help understand those opinions. Because in my opinion, it seems absolutely exaggerated to use those descriptions on two elements of the band's history that many point to as among the more iconic and memorable.
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« Reply #1489 on: July 08, 2020, 10:38:00 AM »

Bugged is a good choice too. Not a fan of Weíll Run Away either.

IMHO, I preferred Brian in the harmony stack rather than lead in the earlier days. Itís one of the reasons I dismissed The Beach Boys growing up. It wasnít until years later when I was already a die hard that I grew to appreciate the earlier music

Ironic part of all this is that I myself used to have an extremely high singing (And speaking!)voice that I used to get made fun of while growing up that I intentionally wrecked with cigarettes (and other things) in my 20s, so I of all people should understand
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« Reply #1490 on: July 08, 2020, 11:14:18 AM »

I think that with Brian (and indeed from time to time the other boys) it's a line between performance and personality when it comes to their singing.  We can make all sorts of value decisions when it comes to art, and sometimes we can value technical accuracy (which is difficult and very much to be admired) and sometimes we can value hearing a person--including their limitations and quirks--in an intimate way that feels human.  Sometimes we are blessed to have both of these things at once -- real consummate musicianship presented in an intimate, personal way.

I think people that like Brian's early vocals like the intimacy of hearing this kid sing.  I think that's an objective good that we can take away from it.  But he certainly is all over the place in terms of pitch and timbre.  I tend to feel more endeared to him by these things, but sometimes it is interesting to try to square Brian's reputation as this perfectionist with the patent imperfection all his music is infused with.  Sometimes it is easy to think, "Why didn't you just do another take, Brian?" 

I think an important next step in understanding the Beach Boys is dismantling the idea of Brian as perfectionist, he demonstrably was not.  It will make for a richer understanding if we do that.
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« Reply #1491 on: July 08, 2020, 11:31:39 AM »

Oh I think Brian was a perfectionist, but perfectionism can and does coexist between the technical and the overall feel. We've been conditioned since the disco era introduced drum loops that are technically perfect time-wise - followed by sequencing and quantizing which made it even more note-perfect - to accept grooves that are robotic-like "perfect". Guys like Brian were going for how a take felt, whether it was vocal, instrumental, or an overall mix. It's how they worked in the studio in that era. He even admits some of his takes weren't what he wanted and wished he could go back and re-do them, but overall his records and those of the Beatles and other acts of the era have a special feel that the people creating those records knew when they had it. Sometimes it was one take, sometimes 26. But they could tell when the feel was right, and that's a big reason why those records are still being played regularly 50-60 years later. It is not technical perfection like a symphony orchestra would demand of a first violinist. The perfectionism is in the overall feel and the groove, if it's not as obvious in individual components.

I don't think there is a need to dismantle anything but rather broaden the focus and not consider it as if he were Eugene Ormandy critiquing one of his orchestras.
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« Reply #1492 on: July 08, 2020, 12:17:24 PM »

Oh I think Brian was a perfectionist, but perfectionism can and does coexist between the technical and the overall feel. We've been conditioned since the disco era introduced drum loops that are technically perfect time-wise - followed by sequencing and quantizing which made it even more note-perfect - to accept grooves that are robotic-like "perfect". Guys like Brian were going for how a take felt, whether it was vocal, instrumental, or an overall mix. It's how they worked in the studio in that era. He even admits some of his takes weren't what he wanted and wished he could go back and re-do them, but overall his records and those of the Beatles and other acts of the era have a special feel that the people creating those records knew when they had it. Sometimes it was one take, sometimes 26. But they could tell when the feel was right, and that's a big reason why those records are still being played regularly 50-60 years later. It is not technical perfection like a symphony orchestra would demand of a first violinist. The perfectionism is in the overall feel and the groove, if it's not as obvious in individual components.

I don't think there is a need to dismantle anything but rather broaden the focus and not consider it as if he were Eugene Ormandy critiquing one of his orchestras.


I knew I could count on you to disagree with me!
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« Reply #1493 on: July 08, 2020, 12:20:50 PM »

GF, that's what enabled me to gain a better appreciation. Hearing it back now, it's amazing to hear the growth from his earlier vocals to something like "I'd Love Just Once to See You" or "Here Comes the Night" and then to his vocals on Friends. Same guy, and it's amazing. And then to hear "Still I Dream Of it", when his voice was supposed to be "ruined" but it fits the song in a way that makes it beautiful.

Now I go back and think of how much I dismissed the earlier stuff and I shake my head. But that was my opinion at the time.

Still hate Cuckoo Clock though.
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« Reply #1494 on: July 08, 2020, 12:25:09 PM »

Oh I think Brian was a perfectionist, but perfectionism can and does coexist between the technical and the overall feel. We've been conditioned since the disco era introduced drum loops that are technically perfect time-wise - followed by sequencing and quantizing which made it even more note-perfect - to accept grooves that are robotic-like "perfect". Guys like Brian were going for how a take felt, whether it was vocal, instrumental, or an overall mix. It's how they worked in the studio in that era. He even admits some of his takes weren't what he wanted and wished he could go back and re-do them, but overall his records and those of the Beatles and other acts of the era have a special feel that the people creating those records knew when they had it. Sometimes it was one take, sometimes 26. But they could tell when the feel was right, and that's a big reason why those records are still being played regularly 50-60 years later. It is not technical perfection like a symphony orchestra would demand of a first violinist. The perfectionism is in the overall feel and the groove, if it's not as obvious in individual components.

I don't think there is a need to dismantle anything but rather broaden the focus and not consider it as if he were Eugene Ormandy critiquing one of his orchestras.


I knew I could count on you to disagree with me!

I have to confess my mind was working a certain way today after randomly finding an interview online last night with Max Weinberg where he talked in detail about Ringo Starr as a drummer, and how the groove and feel Ringo had on those songs went far beyond any technical drumming issues some may have with his playing, and the conclusion being how Max considers him among the best rock drummers of all time because Ringo had that special feel which fit all those songs perfectly. Even though in terms of perfection in a technical sense, Ringo wasn't there, yet he made those records groove like crazy.

I saw parallels in Brian's productions as we're discussing here and some of the points where it isn't as perfect as a late-period Steely Dan record or something...and even those have audible imperfections! I think it's all about the groove and overall feel, across the board. I think some of the imperfections humanize the music.
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« Reply #1495 on: July 08, 2020, 12:37:41 PM »

Well I think there are three categories, or maybe 4 or 5...


A. Technically perfect: music created entirely using quantized grids, Autotune, VocAlign, etc

        A.1.  As close to the above as possible by humans without the aid of technology, eg, a top symphonic orchestra, or a session of top hired guns aiming for precision.


B.  Solidly made music, well played, not robotically perfect but consummately performed with great taste and feel.  (I think this is where most of us prefer music to live)

C.  Music that is not performed on a consummate level, but there's an integrity and taste to it that makes it easy to enjoy and listen to.  (This is probably where a lot of classic pop/rock exists)

D.  Music that is not performed consummately, but the performers are communicating something authentic and any performance issues are not so bad as to distract.  (This is a lot of the Beach Boys stuff, IMO)

E.  Music that played poorly enough to distract, or there are noticeably blips that take away enjoyment. 
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« Reply #1496 on: July 08, 2020, 12:38:31 PM »

But they could tell when the feel was right, and that's a big reason why those records are still being played regularly 50-60 years later. It is not technical perfection like a symphony orchestra would demand of a first violinist. The perfectionism is in the overall feel and the groove, if it's not as obvious in individual components.

I don't think there is a need to dismantle anything but rather broaden the focus and not consider it as if he were Eugene Ormandy critiquing one of his orchestras.

What a great way to put it. I do think Brian rushed (or was at least forced to rush due to whatever reasons) certain tracks and it is noticeable, but your statement above applies to 99% of the rest of the music he created from the 60s, 70s.

And then to hear "Still I Dream Of it", when his voice was supposed to be "ruined" but it fits the song in a way that makes it beautiful.

That is one of my favorite Brian songs. When I first heard that on the IJWMFTT solo album I was blown away. That song proves to me that Brian needs to do a solo vocal and piano-only album. When you hear the studio version of "Still I Dream of It" it seems to lose all the emotion of the demo track. Gah, listening to it again now, what a perfect song.
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« Reply #1497 on: July 08, 2020, 03:30:48 PM »

Mostly agree but man those tag vocals he did on the studio version get me every time.


Hereís another thing...as roughshod as the vocals may be, the vocals on 15 BO and  LY are deceptively simple...some of those BV are a lot more complex then they initially sound
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« Reply #1498 on: July 08, 2020, 06:11:57 PM »

1976 Sherry She Needs Me is a great 1970s BW vocal!
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And production aside, Iíd so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #1499 on: July 08, 2020, 06:31:15 PM »

By leaps and bounds, I much prefer the Brian Wilson vocals on the bridge of WIBN, from the original stereo remix of the song. I prefer those so strongly to Mike's bridge on the original, it's hard for me to listen to the original version, as I feel that part literally is ruined by comparison.

Mind you, I fell in love with this band listening to the stereo version with the Brian vocals. So to me, that's "the" version of the song. I didn't grow up listening to the mono version for decades, so I have no emotional attachment or investment in the original version, the way many fans probably do.

Mike certainly has his share of solid vocals and vocal parts, where his voice is very well-suited to a given part or a given song. That bridge is not one of them. There's clearly more soothing emotion conveyed with Brian (even on just a guide vocal part) compared to Mike on there. I cannot understand for the life of me why Brian decided to go with Mike on that part over himself. Methinks politics, but who knows...

What's extra frustrating as a fan, is that my vastly preferred version is now much harder to track down, once technology improved enough to extract Mike and plunk him back into a later, revised stereo mix. This is effectively The Beach Boys' equivalent of one of the late 90s facelifts to the original Star Wars films, which George Lucas quickly took out of circulation and then replaced by another facelifted version.
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